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    How To Master The Violin:: A Practical Guide For Students And Teachers
    How To Master The Violin:: A Practical Guide For Students And Teachers
    How To Master The Violin:: A Practical Guide For Students And Teachers
    Ebook151 pages1 hour

    How To Master The Violin:: A Practical Guide For Students And Teachers

    By Pavel L. Bytovetzski

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    About this ebook

    Great care has been taken to make all statements as clear as possible for the average student. The less experienced player will find stated here the fundamentals which he needs; and the more proficient violinist will not resent the presence of this groundwork beneath the more advanced stages of advice offered for his profit. The photographic illustrations will reinforce the instructions given, by affording visible standards and models by which the player may criticise his own attitudes and habits of action.
    LanguageEnglish
    PublisherBraunfell Books
    Release dateJan 27, 2023
    ISBN9781805230052
    How To Master The Violin:: A Practical Guide For Students And Teachers

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      Book preview

      How To Master The Violin: - Pavel L. Bytovetzski

      cover.jpgimg1.png

      © Braunfell Books 2023, all rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any means, electrical, mechanical or otherwise without the written permission of the copyright holder.

      Publisher’s Note

      Although in most cases we have retained the Author’s original spelling and grammar to authentically reproduce the work of the Author and the original intent of such material, some additional notes and clarifications have been added for the modern reader’s benefit.

      We have also made every effort to include all maps and illustrations of the original edition the limitations of formatting do not allow of including larger maps, we will upload as many of these maps as possible.

      TABLE OF CONTENTS

      TABLE OF CONTENTS 1

      DEDICATION 5

      PREFACE 6

      CHAPTER I—THE LEFT HAND 7

      DIRECTIONS 8

      THE CORRECT ATTITUDE OF THE LEFT HAND 9

      GENERAL RULE FOR HOLDING THE VIOLIN 11

      RULES FOR HOLDING THE VIOLIN 12

      COMMON FAULTS OF LEFT-HAND ATTITUDE 13

      DON’TS WITH RELATION TO HOLDING THE VIOLIN 16

      CHAPTER II—HOW TO SUPPORT THE VIOLIN WHEN SHIFTING 17

      CHAPTER III—SHIFTING AND GLIDING 20

      RULE FOR SHIFTING 21

      RULE I FOR GLIDING 22

      RULE II FOR GLIDING 23

      RULES FOR POSITION-CHANGES INVOLVING TWO FINGERS 24

      ADDITIONAL INSTRUCTIONS REGARDING POSITION-CHANGES 25

      THE HAND IN VARIOUS POSITIONS 26

      CHAPTER IV—THE ACTION OF THE FINGERS 35

      RULE FOR THE RELEASE OF STOPPINGS 36

      FIVE ESSENTIALS 37

      ECONOMY OF MOTION—WITH SPECIAL REFERENCE TO RAPID PLAYING 38

      ELIMINATION OF UNINTENDED SOUNDS 41

      RULE I FOR EXCLUDING UNINTENTIONAL SOUNDS 42

      RULE II FOR EXCLUDING UNINTENTIONAL SOUNDS 43

      DOUBLE AND TRIPLE STOPPING 44

      INDEPENDENCE OF THE FINGERS 45

      RULE FOR EXTENSIONS 46

      TRUE INTONATION 47

      CHAPTER V—SCHOOLS OF BOWING 48

      THE BELGIAN SCHOOL 49

      CHAPTER VI—HOLDING AND DRAWING THE BOW 51

      GENERAL RULE FOR HOLDING AND DRAWING THE BOW 52

      CHAPTER VII—COMPREHENSIVE VIEW OF BOWINGS WITH INSTRUCTIONS FOR THEIR APPLICATION 58

      THE HAND STROKE 60

      THE FORE-ARM STROKE 62

      THE UPPER-ARM STROKE 63

      THE FULL STROKE 64

      INSTRUCTIONS FOR EXECUTING THE PRINCIPAL BOWINGS 65

      DIRECTIONS FOR THE PRACTICE OF THE SPRINGING AND BOUNCING STROKES 69

      CHAPTER VIII—AIDS TO TRUE INTONATION IN GENERAL, AND WITH REFERENCE TO DOUBLE-STOPPING 71

      CHAPTER IX—THE VIBRATO 75

      CHAPTER X—THE ART OF PRACTICING 78

      CHAPTER XI—TONE PRODUCTION 82

      CHAPTER XII—THE PRECISE FUNCTION OF THE KREUTZER ÉTUDES IN VIOLIN STUDY 86

      APPENDIX 89

      LISTS OF CLASSIFIED MATERIAL FOR SPECIFIC TECHNICAL USES 89

      REFERENCE LIST OF BOOKS 90

      EXERCISES FOR THE DEVELOPMENT OF THE FINGERS. 91

      (FIRST POSITION) 91

      (VARIOUS POSITIONS) 91

      STUDIES IN TRIPLETS, FOR FINGER AGILITY. 91

      STUDIES FOR THE VARIOUS POSITIONS (SINGLY). 91

      STUDIES FOR CHANGING POSITIONS 91

      SCALES AND ARPEGGIOS 92

      DOUBLE-STOPPING 93

      (EXERCISES IN THE FIRST POSITION). 93

      (EXERCISES IN VARIOUS POSITIONS) 93

      (STUDIES) 93

      SPECIAL EXERCISES FOR THE DEVELOPMENT OF THE THIRD AND FOURTH FINGERS 94

      EXERCISES IN CHROMATIC PASSAGES 95

      BOW TECHNIC 96

      STUDIES FOR THE SINGLE STACCATO STROKE 97

      STUDIES FOR THE MARTELLATO STROKE 98

      STUDIES FOR THE GRAND DETACHED STROKE 99

      STUDIES FOR THE SLURRED STACCATO STROKE 100

      STUDIES FOR SKIPPING STRINGS 101

      STUDIES FOR THE SPRINGING STROKE 102

      STUDIES FOR SMOOTH AND EVEN CROSSING FROM STRING TO STRING 103

      STUDIES FOR THE SINGING TONE (INCLUDING EXPRESSIVE SHADING, SUSTAINED TONES AND PORTAMENTO) 104

      HOW TO MASTER THE VIOLIN

      BY

      PAVEL L. BYTOVETZSKI

      DEDICATION

      Dedicated to

      Anton Mitek

      PREFACE

      The teachings in this book are concentrated upon one main purpose:—that of presenting definitely the most direct paths to those acquirements coveted by every earnest student of the violin.

      The guidance here afforded consists of explanations, specific rules, musical examples and numerous photographic illustrations. Thus the daily needs of the student, and of the more advanced player as well, are taken up in a series of independent chapters, each dealing with one important department of violin technic and providing means for conquering the difficulties usually met in that department.

      Great care has been taken to make all statements as clear as possible for the average student. The less experienced player will find stated here the fundamentals which he needs; and the more proficient violinist will not resent the presence of this groundwork beneath the more advanced stages of advice offered for his profit.

      The photographic illustrations will reinforce the instructions given, by affording visible standards and models by which the player may criticise his own attitudes and habits of action.

      Good violin playing is by no means a recent invention—it has been, and is, good the world over: but the methods of attaining this end admit of constant improvements. A new treatise like this one should justify its existence by bringing forward such betterments in instructive procedure as experience has brought to light. This book will not be found lacking in this direction; the many restatements of accepted principles, and the provision of new means herein offered for accomplishing desirable results have all undergone thorough tests and their effectualness has been proved.

      img2.png

      CHAPTER I—THE LEFT HAND

      It easily happens, even with well-instructed violin students, that they have at no time considered in complete survey, the rules governing the best manner of holding the instrument. The directions on this point, given at the first lessons, are likely to have been combined with much else that is new to the pupil and only fragmentarily recurred to afterward. The teacher may, indeed, have done his part within the limits set by weekly, lessons; but that every student has fixed in his mind a clear and definite statement of this whole matter, may well be doubted.

      The more advanced student, therefore, as well as the novice, will find benefit and technical strengthening in reviewing, as a whole, the details of the most thoroughly favorable manner of holding the violin. His more mature self-criticism on these points will bring valuable results.

      This particular subject is one upon which the best traditions agree, so that the advantage sought in this presentation of it is solely the desirable one of clear and unmistakable statement, including also the further gain of completeness, freed from lengthiness or vagueness by the numerous photographic illustrations: the latter take the place (and more effectively) of elaborate descriptions.

      The student of this book must not content himself with a theoretical understanding of the rules, but should make full use of the safeguard afforded by the illustrations; for the student, unaided, is seldom able to divide his attention equally between:

      (1) the comprehension of details new to him;

      (2) the execution of the directions;

      (3) self-criticism as to whether or not he is following the instructions accurately.

      The slight unconscious variation which the action often undergoes at the hands of the pupil is most likely to be the very thing which prevents the

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